definition: stampa


identification: Venere e gli amorini
: Venus and Cupids
title: Festa di Venere


Boston, Museum of Fine Arts, Bequest of W. G. Russell Allen, Europe, Prints and Drawings


type of acquisition: donazione
first name: W.G. Russell Allen
Boston, 1964


data uscita: 1964


sec. XVI, prima metà
1520 ca. - 1527 ca.



primo stato (di due)


xilografia; chiaroscuro; mm 228 x 380 ca., ; mm 266 x 407 ca.
medium material: carta






type of material: indicazione di responsabilità
writing technique: a stampa
fonts: lettere capitali
transcription: PER VGO/ DA CARPO



Chiaroscuro woodcut from 4 blocks, pink, state i
Inscription: “PER VGO/ DA CARPO” in the line block

State i/ii: With additional lines in the darkest block in the face (eyebrows, line under nose)
State ii/ii: Darkest block cut back

A rare example of a drawing made for a painting that was directly reworked by a printmaker is the Raphael (or Raphael school) Venus and Cupids now in a private collection (c. 1520, pen and wash with white heightening and black chalk, 25.6 × 40.0 cm). The related chiaroscuro woodcut is signed “PER VGO DA CARPO” and is recorded by Vasari among Ugo's prints (Vasari-Bettarini and Barocchi 1966–87, however the attribution has be questioned by Johnson 1982. On the attribution to Ugo see Takahatake 2015). The drawing was made around 1520 for the fresco decoration in the vaults of the Garden Loggia of Villa Madama in Rome that were painted under Giulio Romano and Giovanni da Udine's direction after Raphael's death (For a summary of the various attribuitions of this and related drawings to Raphael, Giulio Romano, Gianfrancesco Penni, Perin del Vaga, Baldassarre Peruzzi and Giovanni da Udine, see Cordellier/ Py 1992 and Oberhuber/ Gnann 1999). The pen and ink with washes and white bodycolor drawing has been squared in black chalk for transfer to the fresco. According to Achim Gnann, the wash and white heightening were added by the blockcutter (Gnann 2013). Indeed, the white heightening was applied over the squaring, and therefore adapted for the printmaker's use after it had served its initial function. The drawing and print are very close in size, and Ugo can be seen to have followed closely the penwork, washes, and white highlights of the model drawing. Most surviving drawings made for purposes other than prints and reused as models for chiaroscuro woodcuts bear no such reworking, nor, for that matter, any marks of transfer.

Naoko Takahatake, The Chiaroscuro Woodcut in Renaissance Italy, exhibition catalogue, Los Angeles County Museum of Art, June-September 2018, National Gallery of Art, Washington D.C, October 2018-January 2019, DelMonico Books/Prestel, Munich-London-New York, 2018, p. 19, fig. 8-9, p. 21, fig. 10.

Other impressions of state i/ii

-Chatsworth vol IV, fol 89, no. 116: 4 pinks

For impressions of state ii/ii and variant impressions see ALU.0953.2


type of material: fotografia digitale
ente proprietario: Boston, Museum of Fine Arts ©


Bartsch A., Le peintre graveur, Vienne, 1803-1821, v. XII, p. 107, n. 3


Johnson J., "I chiaroscuri di Ugo da Carpi", in Print Collector - Il conoscitore di stampe, Milano, 1982, pp. 23-24
Cordellier D./ Py B., Raffaello e i suoi disegni di Raffaello e della sua cerchia, Roma, 1992, pp. 576-577
Oberhuber K./ Gnann A., Roma e lo stile classico di Raffaello 1515-1527, Milano, 1999, pp. 276.277, nn. 194-195
Gnann A., In Farbe! Clair-obscur-Holzschnitte der Renaissance - Meisterwerke aus der Sammlung Georg Baselitz und der Albertina in Wien, Monaco, 2013, p. 118
Takahatake N., "Raphael and the chiaroscuro woodcut", Raffael als Zeichner. Die Beiträge des Frankfurter Kolloquiums, 2015, pp. 167-186, pp. 171-172
Takahatake N., The Chiaroscuro Woodcut in Renaissance Italy, Los Angeles, 2018, p. 21, p. 19, fig. 8 



Takahatake N., 2020
Takahatake N., Atlante delle xilografie italiane del Rinascimento, ALU.0953.1, https://archivi.cini.it/storiaarte/detail/45837/stampa-45837.html
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